PCTTMH 


6-7  3 


J  - 


CONTAINING  A(  CI' KATE  SCALES 


AlRS,.MA»CIlJBS,  Auiim. 

("tT^      ■    ( <^2)     aMfe*  Concise         C_Jl^L.         '^3^ 

BOSTON,  Published    by    G  GKAUPNKR  and   Sold  for  him    by 
JOHN    ASHTON    N°  197    Washington  S\ 


\j 


INT  RO  DUCT  ION 

TO     THE      ART     OF       P L K  Y  f  VG       OV      THE 

GERMAN      FLUTE. 
Preliminaries  . 

All    musical    Sounds     are    expressed    %    certain    characters,    called  notes    *hicb    are     na. 


s    wlm-li    arr 

.tt      VT. 


med    from    the   first    seven  letters'  of   the    Alphabet,     A,  B,  C,  D,  E,  F    an 

.                   .               -j   4    6 
A    Stave contains  ^pg3 

called    the    first,     The     notes     are 'placed     on     the    lines    or    in    the_spagcs    included   m  th 
<iw===  and    the    additional    lines     called    ledger    lines 

er    and    lower     notes. 

Ill     order     to     determine      the     pitch    of    musical     notes,     certain     signs,    called  Clefs 
have     heen     invented,      they       are     seven    in     number    of     winch    the     G,     or     Treble  Clef 

is    used      for     the    .Flute.!   and  is    placed    on    the    second    line    of    tfc>  £tave   thus  jfW^l. 
>  pG  A  B  CLP  k  (j *-'    G 

from    winch   ihe    notes     ascend    and  descend    as    follows: 


^  G  F  i  gf^ 


NOTEJS     OX     THE     LOSJ3S      A>*D      SPACES      SEPARATELY 


^  -J  E    G  *    U  -*D*  A  ° 


^  EXERCISE  ,gfc  -  - 


MOTES.1 


Figure,   Length,  ami    relative  Value  of  Notes-  with  their  respertire  Rests. 


& 


Rests 


■@^ 


SemihreTe.    Minim.         Crotchet .      QuaTer .     Semkpiayer.  Dein^njnK^. 


There   is   a    certain    proportion    assigHe 


A    to    the    Notes     and    their    respective    Rests; 


for    the    purpose     of    regulating    the     System    of    Time;     which    will  he    Letter   elucidated 
by    the   following    Table,    which     shews     their    true     Proportions. 


535442 


4< 

It  is  indispensably  necessary  in  order  to  arrive  at  a  proficiency  in  Music , that  1  lie  pupil  pay. 
minute  ami  particular  attention  to  Time  in  its  various  divisions, as  the  ground  work  or  foun- 
dation on  which  all  his  future  excellence  depeds;  and  without  an  intimate  and  thorough  know. 
leiln-f  of  which, all  the  effect  of  a  rapid  and  easy  execution  of  the  most  difficult  passages,  . 
will  fall  far  short  of  const  itut  i  tig-  a  good  and  correct  Performer  :  nor  wi  1 1  the  Student  ,  u  n  less  . 
well  grounded  in  Time, ever  he  eualiled  to  play  in  Concert , or  even  add  an  accompaniment  to  a 
Piano  Forte,  i  shall  therefore  endeavour  to  initiate  the  Pupil  in  the  most  familiar  method 
of   acquireing    it   by  fol  lowing   examples. 

TIME   TABLE    shewing  the  respective   proportion  of  each,    note.' 

1    Semi  breve . . >©-.; <s  equal    in  length  of  Time  to 

.'2   Minims Q"'  '  **"  @ which  are  equal  to 

4  Crotchets f~~~  ~~"~f*  'P^^"  ~~~f—~    ~  ,v'1'cn  BLTe  'qnal  to. 

v*"*>                         "■*■.>                          '  ■*  ■,                     ,*"*>» 
.8  Quavers »  ■*#  p"  "*p  m"  p  p  > which  areequalto. 

lb  Semiquavers i      m     g     p      m      0      p      f      »      p      p p      •     0      p      •_"hic.n  areequalto 

There  is    ;•  nother  Note  sometime*    made  4ise    of, called    a   Quadruple  Quaver   0    which  is  half 
tlie     lenght    of  a   Demisemiquaver ,but    i*' seldom  used.  -«  K 


EXAMPLE    OF    RESTS.  £ 

A  Bar  Rett,    2  Bars,     3  Bars,     4Bar*,      5  Ban,     6  Bars,     7iJars,     8Bar>,    9  Bars,      IQBars, 


■  |        ■"      |       ■'        |      ■'"      |      II         |     II"     1     I''       ||' 


£ 


A  Dot    after  a    Note,  or  Rest,    makes   the    Note    or   Pest   half  as  long  again. 
Written. 


ATieoi*  Slur     placed    aver    two   Notes    of    the    same    pitch,     hinds    the    second   to    the   first, 
so     that     only    the    first    is    sounded,    hut    the     sound    is    continued    tire     length    of  hoth 
Notes,     or     heing    placed    irvc-T     Notes    on    different     lines    or    spaces,     shews     that    they 
must     he     played    in    a     smooth    connected     style,    continuing    each    Note    its    full    length. 
This    style    of     playing     is    termed    in    Italian    Ecgato,    written  thus 


The    opposite    style,    »f    playing,    termed   Staccato,    denotes     distinctness     and   shortness 


of    sound,     written     thus 


or   written     thus       f     f     J  »"<""    less    Staccato, 

and    thus  ■    •      }      j         means    still'  less   Staccato,  ,  written.- played .  ,»,         P 


? 


\    t 


*.■* 


r     . .       p  y    '    w^t-— g      p ■       t  y 


.  i 


** 


6 


Time    and    its    Divisions. 

The    Bar,    made     thus  — - 


:divi;les    a    musical    Composition    into    Eqi  U,  Por_ 


tions    of    Time, 

TlVtE    is     divided    into    two     Sorts;     COMMON     and     TFIPLE;    each    of   which    is 
either    simple    or    compound:    and    the    Character    or    Sign,    which    denotes    i(,   is   placed 
at     the    Beginning    of    every    Composition,..aftcr   the    Clef. 

Simple   common    Time . 

When    marked     thus  ^X.*  "  E   (,  ilrimtps,   that    each    Bar    contains    one   Scnribreve, 

or     its     Equivalent'.     A^id  is  timed  by  Crotchets  in   Quick -movements,  and  by  Quavers   in  slow 
movements  .       _e ^_ 

Example.   ||  Q  m-  ^xEr 


'I'li'T'.rr.CLcr'r^fl'Cfl'casr " 


When    marked 


thus  ^g 


the   Ear   contains  two   CiHdchets  or  tteir  Equivalent . 


Example. 


•1SE 


\  i  ■  i  r  r  i  r  ■  g  i  u  cr-imsr  ww^ 


Counting   in   music   should    l>e    like  tlie   pendulum   of   a   clock   even   and   exact,  as    the 
notes     must    he    timed     by    it  . 


Compound    common   Time  Explained. 

isduavcrs    i..    >■  B''^^J7f-c^f::5?Ef:5:-rJTT  TIT  I'll  or  their   Equivalent 
otted   Crotchets  jgpS  'I      I     I      '1      I    ^"LU    I 

-•'•"  •SoRT-  Oio        i  i .  -tr 

Count     6    Quaver?    ia    a  Bai^^g=£±f  g  j  i"  g  1  fTT    g  '     II    1>r  theil'  Eg™™! 
or  2   dotted    Crotchets  ^'  9    1"  | 1     W    LU       | 

iYotchcts   in   a.  IW,^p'"-"|Hrrrr  f"|  "    II      or  their    Equiyalent,; 


].*.*      NOKT. 

Comit      1 
or  4  d 

2"-1    SoRt. 


ent  . 


.J  •  •      S  O  K   I  . 

Count     YJ. 
or    6  M 
4U1    sort 


'-*"•      SORT.  Pff  ,  

o   Count     6  OWehcts  in  a  WJS5  |  gg  g  :fgf=r  g  5  g 

or  2  dotted   Minims  ./    lll      HB  III     I     I 

The    two    last     Sorts     arc    very  seldom    used 


||         or  their    Erv.ivalcnt  . 
in    modern  Music. 


SIMPLE     TRIPLE    TIME     EXPLAINED  . 

||  : o v   their    Equivalent    . 


Three.  Minims    in    a  Bar,^      '-'    '     |  | 


TJiree    Crotchets   in  a  ParA_X. 

Three    Quavers    in  a  flar.^gg  j      ,|.    --~>  |    g   ±Ej||e 


or    their    Equivalent    .' 
or    their   Equivalent    . 


8 


Nine     Crotchets  in  a 


Compound    triple   Time   Explained. 

'  B-^iTrrffff 


;,  *  i  ,'.,'  •  TO. 


i 


ti 


Er, 


ilcnt  . 


lent  . 


Nine    Quavers    in  a  Bar  jj|S  '  |    g    fTf  1  T  j   |   I"    T  '  II   or    their     Euuivalc 
Compound    triple    Time    is    seldom     used    in    modern   Music. 
The     Figures,     which    mark    the     Time,    hare     a     Reference     to    the     Semibreve;     the 
lower     Number,     showing     into     how    many'  Parts     the     Semibreve     is     divided;     and    the 
upper    Numl>er,     how    many    of    such   Parts  ■  are    taken    to    fill    up    a    Bar. 

For    Example     ^     denotes,    that    the     Semibreye    is     divided    into    four     Parts,   Namely, 
four    Crotclicts;    and    that    two'   of    them    are     taken   for    each    Bar. 

Likewise    |    indicates,   that    the    Semibreye    is     divided    into     eight    parts,    namelj',   eight 
Quavers',     and    that     three    of    them     are    adopted    to    complete     a    Bar. 


The    Figure    OF   3   placed    over    three    Crotchets,    Cuavers    or    Semiquavers     thus 

in  ill  m  guT.  ■«-  ' 

Crotchets    must     be    performed     within     the 


led    TRIPLETS,    Denotes,    that    the    three 
Crotchets    must^  be    performed     within     the    Time     of    two     common     Crotchets;     the   3 
Quavers     within    the   Time    of   two    common    Quavers;      and    the    three    Semiquavers 


Of 


E  X  P  L.  A  N 

J  A  R  f  O  US     T  E.R  M  S 


ATI  ON 


]7 


v  /  ( 


A    Tempo,      in   strict      Time.  »- 

Adagio,     alow      Time 

Ac!     Libitum,     at     Pleasure*.  ■;      v., 

Affetuoso,      Tenderly.  ,; 
Agitate,     Agitated. 
t  Allegro,    «j itii-k    Time. 
Allegretto,  not    so   (jijiek   as   Allegro. 
Al  Segnv,    signifies   to.  begin   again  at  the'-S-. 
t»r    Repeat,    and    finish    al    th,-  double  Bar, 
01"    the     Pause. 
Hi."    an    Octave    higher   then    written. 
Ana -rest),  or  Tenderment,  nearly  as  Affetuoso 
Andante,    rather    slow    ami    distinct. 
An, In  ntinc,     slower    then  Andante. 
Ar/esr,     in   the    StyL    of   an    Air. 
Ass,i^,    to    Augment 
as     Allegro     assai. 
assai    "very    sli.w  . 


tbj    '/uickness   or  slowness 
veiy     brisk;    Largo, 


afs     twice,    OTer    which 


Bis,      play    those 
it     is     place.)!. 
Brilliant,     in    a     brilliant      Stile. 
Br/o,    Spirt,    as   con    Brio,    with   Spirit 
Bene  lHaato,     at     Pleasure. 


Cttntith/le,     in    a     vocal     Stile. 
.Cans.one-lia,     a   sort    of    common    Air. 
rid  a,   conclusion    or    Appendix, 
Con    Commodo,    with  an  easj    Stile. 
Crescendo  pot   Culu ndC,   or  <3>  a   gradual 

rise    and    fall    of    the     Sound. 
Crescendo   Runforv.a  into,    r>r<   a    gradual 

rise    of    the      Sound. 
Bn    CipO,     signifies     to    begin    again,    and 

end    with     the     first    Part. 
Diminuendo    Cahtndo,     or>!i   gradual  fall 

of    the     Sound. 
Direct    (W)  shews    the    place    of  the    first 

Note    ill     the     next     Stave  . 
Dolce   or  Vol:    sweetly,     tenderly.      ' 
Di    Mollo,     verj,    as    Allegro    111    Molto,  Very 

fast;     Largo    Di   Molto,   very   Slow. 
Duett,  Duetto    or  Duo,    a    piece    for     two 

parts,    either    Vocal    or     Instrumental. 
Finale,  the  last  Movement    of  a  musical  Piece. 
tints,  Fine,  or  Fin,    denotes    the    end    of 

any    Movement    or     Piece. 
F.    or    Forte,     Loud. 


18 

pp.   or    Fortissimo,      very*  Loud,  Fallen  l/indo,    gradually    sla.k.ni n'j;  ill.    I  i      , 

Ciiisto      iust"     Exact,    as   a /Leriip'o    Giusto,  Rondo,  or  Rondeau,   a   piece    ol   Miis*.'   m   wh 
i»   just    and    exact     Time.  the    first    Part    is    repeated   once   or  Often 

Graw     Torj     slow     Time.  ,  i„  j ho  com-se   of  the   Sfovemeul;   ?na  « .1 

Gnnfao,   in  a  graceful,  plcasfcig   Style.  which    ,t     finally    Ends.   _ 

C«*/ft    E««*   as   <"*"    C^0,4ith    Taste.  Rmfvrva,    or   /?.    F.    to    re  mforro  „.•    1.1,-n 
'        '       ...                        .            *■                   -  ■  the  strength  of    (ones   or    Sounds. 

LaJl'ett .iol    so   slo„   as    Largo.  .  Scb,„*w<fc,    ift    a   playful    M 

LentUnicnie,     rather "Slow  .  ,$«#/*,   to    contunvc-,  or    lollow 

ienlc,    a   little    quicker    than '  Lar.go.  to  »,/;//«•, with    Simplicity.: 

Afaerwo,   Uu/est/c,  in  a  hold   Style.  to»«u,    Withowi. 

f  ,/r<k  Sf«r*/f*,  a  Military  Air?*  «/Y  r*,i  Wr;     particular     stress     „,.    the  Not, 

M„,    But.  ••  -  (    s<>     W«>'ted.  «        ,    ■ 

Mctio     Less.  ■  S-ivilitinOj    a    Pastoral     Mowment,   in  I  om_ 

\fest0,    iii    a '  Melancholy    Style.  V  pound    Common   Time. 

Mev.zo    Forte,    or    /«.  f.  rather    Loud.  Smorv.atc,  or   Smorxanch',    smoothing    a»ay 


;in  mi' . 
IIWi 


Mm, 

'P'eut , 

in 

(', 

me. 

>nli. 

snioot 

Inn 

CT 

the 

Soiim 

1. 

Spi, 

•it. 

ifrnt  ft<wift    or    wk.   rather    Soft.  the    Sound. 

Mnferato,     Moderately.  ^"f'"''(>  . ',"    ",*.tH.ln 

Mo/to,    very,    see    di    Molto .  Spintc,    with    Spirit. 

Von    not  as Wot?  Troppo  Presto,  not. too  quick.  Spiriiose,    with    mucli 

7uvi    7V(W^    £«  *■£«'»    not    too    Slow.  7>*r«Y,     he     Silent. 

TYttfce,    or    P.    Soft.  7*>//i/>r,  Time,   in    respcet    of    measure  and  Bars. 

F''         More  Teniae,  or  Teniuo,    to    hold  a   Note  as  Sostenutn 

7VrV    little-'as  Poco  Piu,    a    little    More.  Then m,  the  original    Air  or  Srihjcet,  upon  which 

ZW»«M»,    in    a     Grand     Style.  Variations    are    Made.               _ 

$V«£     very     Quick.  Variaricne,  or    F.ir™**?""    Variation,  on    an, 

7V«,,.v.v7W,    quicker    then     Presto.  Air-  or      lime,     keeping    always     the    same 

Prime,     First.                               ,           ..      „  _.  v  f™**™nU}      B,SS'      nL( 

Prime  Tempo,  according  to  the  original    lime.  Vein  Svbito,    turn    ever    Quickly  .      / 

<2«<*«,  /'«  «/'C  manner  of:  As  ^ww    andtitut,  Vivace,     Lively. 

in    the   manner    of   Andante.  Vigprote,    llTely     and      rirm.        .     _ 


OF     TH  E      EMB  ()  I   C  H  I    R  B  .  ■  ,  I-      - 
In    order    to    acquire    a     knowledge    uf    the    German     Flute,    ihc'Tirst    thing      to      he 
attended    to,  is,    placing    the    Flute    properh     to     the    Lips,  to    do    tliis,  take    tJie    first 
joint    of     tlic  .Instrument    only, 'and    place   the    Emhouchure,    or    liole    thereof,  ,    to    the 
upper    part  of     the    under    lip,    drawing     that,  and    the    upper    one   even    with    each   othclj 
and    eMending    thcni    av  little    towards     each    ear    lcavmg,    a    small    ;  aperture    for    the 
wind     to    piss     frccrj     into    the     Instrument  .  , 

j^rin     Flute    being    placed    and    the    lips     formed    as    described,     the     next     step     is    to 
acquire    th''     intonation       or    method  .     of     sounding    the'    Flute,    v  hich     is    done     )>J 
inclining     the     limhouchure    a    little    inwardly     or    outwardly     and     hlowing     moderately 

into     thel  rjutc     till    n    clear    and    distiuM     sound     is    produced,     then    put     the    remain 

ing    part     of    tic     Flute     together,  and      mark    with    a     pencil     on    the    upper    and   second 
joints,    where     thej      meet,     with    a     line     thus. [l^  one    half    of    the    line    on    the    top  joint 
and     the     other     half,      on     the    second   joint,     to     meet     it;     hy     this     method       thej 
will     hcj   sure     of     the     hole     thcA     blow     into,  heing     al,ways     turned    in    the    .same    dit— 

ircetioni     iintl     will      find,    that     it     will     very     much    facilitate     their    pvogress    towards 

I  '  if  they  f  > 

obtain  Jhg     a     good     embouchure,      pay      particular     attention     to     the     following    rules 


anil     i 


serrations     respecting     the     position  of     the      Flute. 


20 

POSITION  KK    HOLDING    THE     FLTTK.' 

First,  the     Flute     should     rest     nearly     on' the     middle    of    the     third    joint     of     "lie 
first     finger     of     the     lef.t     hstud ,      placing,     the    thumb    a    little    belov\     the    first     hole,  on 
tlie     side    of    jirnr     Inst rumeiit  .    ;  .      ;.- 

Second,  the  tliumh  of  the  right  hand  should  he  placed  nearly  under  the  fifth 
hole  with  the  little  finger  over  the  i)  sharp  Key,  M  hick  ;y>l\\  cause  the  tips  of 
the     other     three     fingers     to     lay     over,  the    holes    which,     they     are     to     stopl. 

Third,:     the     Instrument     hcing     thus     held,    sustain     it     to     the    lips,     as    stlatliU      is    pos_ 
sihle,     with       every     finger     off,    at     a     small     distant*    from     the    holes    in    a    parallel 
direction  v\  it  h     t  he  •  Instrument  •  ' 

This    do  ne  endeavour     to      produce     a     free'    tone,*'    which     and     when     SrVjuilrd    you    "ill 
produce     ('     sharp;     as     the     seventh    Note     of     the     Gamut,    of     1)     Major,     llltni  proceed 
1)1      putting      down     the    first     finger     of    the   left    hand     which    is     b     natural     Ant"     so     On 
as    in     tlie     Gamut      of     1)     Major, 

,•    Great      tare     should     he     taken     to    bring     out     the     lowest     note     in     as     full    (ami     round 
tone    as    possible,    having     all     the     holes     stopped     perfect,     being    careful       not    to    force 
the     wind      in      too     -strong,    or     contract     the       lips     so     muck     as     for     the     hlglcr 
Notes  .  f. 


THR   GAMIT     WITH    T 11 E     BEST     FINGERING. 
Or   a    SCALE   of    NOTES    not     affic tid     l<y    the    Additional  keys. 


21 


i) 


»E* 


coo 


O   0 


m 


•  • 


g 


•  •  • 


F* 


*±1 


•   •   • 


E 


u 

m 

Or*     r\ 


D 


D 


o  c  o 


p 


□  . 


Xi±±Hr 


One    Keyed  Flute™  L'y 


F=fe      •    •   0 

E  p 

0    •   • 

□ 

4 

m 

0  0  o 

D 

cft  =£=...  o  •  • 

•  0  c 

p 

B  =£=    •  o  0 

ceo 

D 

•- 
A •    •    0 

0  c  o 

D 

• 
G •    •    • 

ceo 

D 

F#                   •   •   • 

•  c  c 

■ 

*"£  The  six  Cyphers  in  the  preceding  Scale   are   intended  to    represent    the  six  Holes    of  the    flute, 
»nd    the  Square  denotes  the  Key. 

The  white  Cyphers  are  for  the  Notes  that  arc  to  remain   open,  and   the  black    ones    those  that 
are  f<>  be  stopped. 

The  Pupil  must  begin  at  the  bottom  of  the  Gamut   and  read  the  Notes  upwards 

EXFRCISES. 

I  would   recomend  the  pupil  to  practice   every  note  thus.  ^?L    to  produce  a   good    clear  and 
powerful     tone   on   each  Note. 


/.  BA".  in  Gamut. 


L.-rrrr^ffrrrfrrJ 


rrr JJ i 


£ 


m 


V 


ILEX.'  in    Seconds. 


^$m&m^ 


,»tp**f*»fa&<4 


Mill""  HI 


fffmrrrtissmm 


Iimx:  in  Thirds. 


^m^m 


frfrTrrErfcH 


JWih-H- 


F/.E.V.in    Fourths. 


Fourths.  ^.  -*«#-f*-  -*-  • 

^rj  rrrrrrfr WWr^  rr  rr  ri^ipfff 


P 


K  FXin   Fifths 


ifpffffpf. 


^rJrJrirrWrr^WrrrrJrJrjffe^t 

V  TThTs  is  executed  by  performing  a  long  Note,  begin  nine  piano,  gradually  efcreasing 
middle  and   diminishing  it  imperceptibly  towards  t 


the    end. 


creasing  the  tone  to  the 


VI. EX:  in  Sixths 


iririrrWFr*ig¥&m 


s^ 


Fit. EX.'  in  Sevenths 


flj ri'iViW-riyirir |  i 


VI! I. EX:  in  Octaves 


/.Dw .  in  uctaves  ^_       ■    m.     m 


25 


In    the    preceding    Progressive   Exercises,  I  have  not   extended  the   Scale  beyond     EJ 
wishing  the    Pupil  to   apply  himself   particularly  to   acquiring  a  full    Ton*    on  the   low- 
er   "Notes    first,  as  »11    others    beyond     E,  require   a  peculiar    formation   of    the     Lips 
to     produce    them     clear     and     distinct,    which    will    be     found     comparatively  easy 
to     be     done     in     proportion    to    the     Pupil     having    familiarized     himself    with    the 
preceding    Exercises. 


24, 


CHROMATIC   SCALE   OF    ALL     THE     TSOTFS 


^ 


•  •  • 


i 


c  c  c 


D 


•  •  •     • 


E#F 


*w 


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1 

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ii    1 

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G^Afl    ■■■    1               m.  a   ~ 

?if  FS  •      •  •  0 

One  Keyed  Flute. 

The  two  Notes  that    of  rur  in  the   same  line,  are  played    the    same,  tho'  of    different     sigmfira 
tion. 


25 


k, 


•  •  o 


G#Ab 


^^"••° 


m 


l  •  •  o 


gc 


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mm 


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Chromatic    Scale  continued 


26 


Afv0 

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NATURAL    GAMUT     WITH     THE      BEST      FINGERING. 


27 


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These    Gamuts   will  likewise  do    for  a  Four   Keyd    Flute   hy  taking  no    notice  of 
the  two    bottom    Keys    and    beginning-    at  the    second    Note. 


a  □ 


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■hrti^v! 


SHAKES    TO     THE     NATURAL    NOTES. 


SI 


G 


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tr 


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tr 


m 


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tr 

m 


i 

{ 


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m 


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o-o-o 


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f 


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♦ 


S   "©- 


bo 


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,      tr 

'  r$n       °    •    • 

c   — — | 

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/r 

B    — 1       7 

~0~  CTO" ' 

p 

A^       *4° 

0    0    0 

tr 

0  _o  o 

t^t-"-« 

4  °  •  . 

*  -              AAA 

+  •  =  .- 

E  L—      ^  *'*-■ 

••■*'■ 

,  SHAKES. 

.To . .hake  middle  and  upper  BPyou   must  shake  the  first  fing-er  of  your  left  hand  c«  l> 
eluding ^wlth  it  do  wn .  To  shake  G*  shake  the  second  finger  of  the  left hand,if  in  a  Minor' 
S&Jflft?  t-1'?  fmger(lf  not  found  too  difficult)when  you  playina    Major  Key,but  either 
way  will  do. To  shakelower  and  upperFhsliake  the  first  fingvr  of  your  rig-ht  hand  oonclud  in- 
with  it  down. The  othershakes  are  the  same  as  on  the  common  German  Flute. 


32 


ON    DOUBLE    TONGUEING 


Double  Tongueing  is  the  effect  produced  by  tlie  action  of  the  Tongue  against  the  roof 
of  the  mouth,  and  is  to  be  acquired  by  the  Pupil  endeavouring  to  articulate  the  words 
tootle, tootle,  tootle,  very  distinctly,  at  the  same  time  accommodating  such  articulation 
with  the  corresponding  notes,  as  in  the  following  Passages;  the  first  of  which,  I  would 
recommend  to  be  played  very  slow,  and  continued  until  the  Pupil  can  with  facility 
articulate    each    syllable    distinctly. 


Ex:l. 


Ex 


Ex:4 


1 


Ex:2 


too  tie  too  tie  too  tie  too  tie 

tootle  tootletootletootletootletootletootletootle 


m^. 


e  tootle  too  tie  too  tie 


too   tletootletootletootletootletootletootletootl 


The    following    Example    is    a     deviation     from    the    ordinary     mode  of    Double  Tongue. 
ing,    and     will    be    found    to    produce    a    distinct     expression    in    passages     where      the 
Pupil    may     wish     to     substitute    it    for  the    usual     articulation    of    the     word    tootle. 


Ex:5. 


55 


leete  te   tleteete 
too  tie   too  tootle  too  tootle  too  tootle  too 


fj    |  Jte  t?te*£te  *!  te  £-te  jg  te  >       g 


Ex:7,  ;* 


^c£#-£ts 


^^m 


,,7nPS    in:whl,«*     thp    »ot«     are    dotted    as    in  the    last    Example    must    be   played   by 
articulating-    the    syl.aMe  te,  distinctly    with   each    note    as     above;  * 

ON     BEATING     TIME. 
In   Beating-    Common     Time    the    foot    should    descend    at    the   first    note    of    every  bar 
and    ascend    at    the     expiration    of  half  the    bar;    as   in    the    following-    examples. 
II..-     Letter  D.    sig-nifying-    Down,  and  the  C.  Up. 

Simple   Common  Time.  COu,nt    four    Crotchets  in  a   Bar. 


s,.i..|gig — mug     Mi -r  r  ririirfete 


Simple    Common  Time 


2         3   4  12        3  4  12    3  4 

count    two    Crotchets  in   a  Bar. 


i  It  I  2 

D  When   Adagio  it  is   best    to  count    four  Quavers    in  a   Bar. 


r 


Ex 


Ex, 


Compound  Common  Time.,      count  two     dotted  Crotchets  in  a  Ba 


•'I'Mir-j.ir-crri  7,  r|tfrcrnr  • F  I 

g       'i    2    '  i     -r**4  '  i     '2  pn     2     '  i     ^ 

D         V  DUD  U  I)  V  I)  I 


In  Triple  Time   the  foot  should  descend  it.  the   first   note   of  every    Ba  r  ami    ascend  at  the 
expiration   of   two    thirds.  as   examples. 


Kx.Ljsa 


D  D 

m  m  r 


1F^       1      2 <T 


13    ■    D 


U  D 


T       2       3 


56 


Simple  Triple  Time. 


Ex 


Ex. 


count  three  Quavers  in  a  Bar 


Lvers  in  a  car.  _  m 

fifj*nf  M 


1  i  I    i  2  h1 


D     5 


1    2    3 


T~2 — 3" 

Compound  Triple  Time.  count  nine  Quavers   in  a    Bap. 


I 


4—4 — P# r  ■  p  i  S  p  i*    1 


»Fl# 


r2345tJ7 


PROGRESSIVE       LESSONS  . 
KEY     OF    D.     MAJOR. 


rs~g" 


Common  Time 


DLETTO.l. 

Andante 


P^f 


xn 


X 


K 


count  four  Crotchats  in  each  Bar. 


I'rriiTrrif1  ni 


234   1   2341234    1234    1234    12  34  1   2  34  1234 


fcWJrJliJrJ|rJfl|flrl|jl|l||J|J|l 


m 


36 


12    3    4      12    34      1234      123   4      1234      12    3  4     12341234 


iVr'T'/'inriii'i  '|,  '|  'iiii'l'-rnn-rr. 


Common  Time 


count   four  Crotchets  in  a  Bar. 


DUETT02 

Andante 


IVr  I  j  p  1  m  i  if  .Mr  r  ii  irirrif 

V~}  12341234123412  3  4123412341   2 '3  4  12  34*' 

y*f  uiJijJrJiirfriiJjjiuiJ 


o  t  ]'•"•' 


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1  2  34   1234  1  234  1234  1  234  123  4   1  2  3  4  1  2  3  4 


frVjJrJl„iJrJijJrJMJ  UiUiJijJi^^ 


32 


m 


f 

DUETTO. A 


iL  hi!  * 


count  two  Crotchet  in  a  Bar.        &7 

rfjf t\T  |f  fir  rn  Hi  iiij^ 


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DUETTO. 
4. 

Andantino. 


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^•#rrrirj  'II  i  i lull  1  i  I 


count  two  dotted  Crotchets  in  a  Bar. 


DUETTCT 
6 


■;t  f-fffjr%rfi]rr%-|^r^ri7n: 

•J  1        2  1       I        1        2        l        2 '  ***   ' 


^'■■1  iiiir-ofhinyj^a^ 


x^ 


Fin. 


P.  C, 


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duetto" 

7 


Since  then    I'm  Doorad  . 


countfour  Quavers  in  a  Bar. 


nr  Qj-if  ■  J-i.JTT?n^ 


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l/U^^OTl1  Hi     I    L^^te 


DUETTQi 

8 


Sicilian  Mariner's  Hymn 

-f-gr 


LULl'l   nu  r 


nx 


r  ria7]|.rP]|^i|l  ,  i,  U|irrri|i  » 


fy  *  j J 1 j 


Bounaparte's    Grand  March. 


DUETT(j> 


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¥^^^^mjmi^^u!^m 


r.nr.nirrrnj'itrgg 


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42 


i 


m-1—1—E—^—&—Mt-T 


n^ns^ngm^^ 


General  Washington's  March 


DCETTCf 
10 


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Andante  quasi  Allegretto. 


DUETTO] 
12 


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DUETTO. 


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A  #  mm  mo  a        -^ I  m\ «Pi_A_— ._. Q»m»o  _*-       I    ^     _  *- >  _  M    L 


rErrr(mn^rriigi,rri» 


J^6  March  in  Lodoiska 


Air  in  the  Barter  of  Sevillt 


By  Rossini 


47 


DUETTO 

15 
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A  Spanish  national  Air. 


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